Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Angola and from Edmonton.
But I was there.
I was there in 1975.
I was there at the first Ubu show in Cleveland.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1967 to 1978.
I'm losing my edge.
To all the kids in Halifax and Bremen.
I'm losing my edge to the art-school Milan kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Soft Boys practice in a loft in Cambridge.
I was working on the linndrum sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The United States of America to the jazz kids.
I played it at the Crocodile.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gang Gang Dance. All the underground hits.
All Audionom tracks. I heard you have a vinyl of every Pylon record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a synthesizer and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Nick Fraelich record.
I hear that you and your band have sold your rhodes and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a rhodes.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
cv313,
X-101,
The Buckinghams,
Spoonie Gee,
Silicon Teens,
Ultravox,
Vaughan Mason & Crew,
Vainqueur,
The Doors,
Television,
a-ha,
Ponytail,
The Fugs,
Cluster,
Black Flag,
Rosa Yemen,
Pulsallama,
Donny Hathaway,
Ohio Players,
Red Lorry Yellow Lorry,
Sister Nancy,
Man Parrish,
Boz Scaggs,
Camberwell Now,
The Fall,
Ajijia Myrayebe,
Youth Brigade,
Jerry Gold Smith,
The Sisters of Mercy,
Brass Construction,
Strawberry Alarm Clock,
Kayak,
Khruangbin,
Sandy B,
John Foxx,
Warren Ellis,
Frankie Knuckles,
Monolake,
Jacob Miller,
Wings,
The Electric Prunes,
Faraquet,
Lightning Bolt,
Masters at Work,
Groovy Waters,
Accadde A,
The Associates,
Patti Smith,
The Dirtbombs,
Fifty Foot Hose,
Lakeside,
Oneida,
The Victims,
Adolescents,
June of 44,
Q and Not U,
PIL,
The Mojo Men,
The Modern Lovers,
Symarip,
The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor, The Royal Family And The Poor.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.